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Hopping from city to city during audition season can be both expensive and time-consuming—not to mention disheartening if you end up being cut after barre. Since its inception in 2016, the Grand Audition has aimed to solve that conundrum for young ballet dancers looking for a job: This annual two-day event in Europe provides an unprecedented opportunity to audition for 10 companies at once.
The ballet world can't get enough of Arthur Pita. With his maverick, surreal imagination, the self-styled "David Lynch of dance" brings a welcome theatricality to everything he touches, from his version of Kafka's The Metamorphosis to 2017's Salome for San Francisco Ballet.
The South African–born Pita competed in disco dancing and later performed with Matthew Bourne's New Adventures. Today, he is Bourne's offstage partner, and the pair live together in London. His latest work, which premiered in November, is a one-act adaptation of Dorothy Scarborough's 1925 Texan novel, The Wind, for The Royal Ballet.
Marcelino Sambé has been an ebullient presence at The Royal Ballet since he joined the company in 2012. A prizewinner at Moscow International Ballet Competition and Youth America Grand Prix, the Portuguese dancer earned a scholarship to the Royal Ballet School's Upper School and shone from the start in virtuosic variations, with technique that was unfailingly bright and airy.
His short stature could have limited him. But last season, Sambé (who is also an enthusiastic choreographer) broke through to the next level, as was shown by the expressive, harrowing role Crystal Pite created on him in Flight Pattern—that of a migrant gripped by despair.
Not many students get the opportunity to perform a variation onstage with the Mariinsky Ballet. But in April 2016, when May Nagahisa was just 15 and training at Monaco's Princess Grace Academy, the Japanese prodigy was invited to perform the Manu dance in La Bayadère with the venerable Russian company—an unprecedented honor for a non-Vaganova student.
"Women are often presented as soft, fragile little creatures in ballet," says Léonore Baulac. "We're not." The Paris Opéra Ballet's newest female étoile is discussing her unease at some of the 19th-century narratives she portrays. "It was real acting," she says with a laugh of La Sylphide. "James kills her by taking away her wings, yet she tells him not to worry and goes to die elsewhere onstage!"
Sitting in the canteen of the Palais Garnier, Baulac embodies some of ballet's contradictions in the 21st century. With her fair curls and dainty features, she could easily pass for a little girl's fantasy princess. As Juliet, she exuded a girlish ardor that felt entirely natural; her reservations notwithstanding, her Sylphide was committed and carefully Romantic in style.
Yet the 27-year-old is no ingénue. At Garnier that day, her sweater reads "I can't believe I still have to protest this s**t," a feminist slogan; last winter, Baulac proudly wore it over a Kitri tutu on Instagram. And her repertoire is as thoroughly modern as she is offstage. A versatile performer even by Parisian standards, she is equally at home in Nutcracker as she is in the works of Pina Bausch and Anne Teresa De Keersmaeker.
At the age of 11, Julian MacKay gave up his life in rural Montana to move to Moscow and train full-time at the Bolshoi Ballet Academy. It paid off: With Apollonian lines and bravura reserves of technique, the young dancer is now a versatile first soloist with St. Petersburg's Mikhailovsky Ballet, and brings an enterprising American spirit to his Russian life.
Company: Mikhailovsky Ballet
Hometown: Bozeman, Montana
Training: With Christine Austin in Montana, Bolshoi Ballet Academy in Moscow
Accolades: 2015 Prix de Lausanne (Royal Ballet apprenticeship), 2015 Beijing International Ballet and Choreography Competition (bronze), 2014 Yuri Grigorovich Ballet Competition in Sochi (bronze), 2014 Istanbul International Ballet Competition (gold)
Wayne McGregor has a new home, and he intends to share it. In March, the British choreographer and his company moved into Studio Wayne McGregor, a new, state-of-the-art venue in London. They have since announced two ambitious initiatives: FreeSpace, a program gifting studio time to other artists, and PEER, a mentorship program for final-year dance students and recent graduates.
In Rachid Ouramdane's Tenir le temps, Annie Hanauer articulates the choreography with unforced precision, her natural demeanor and smooth transitions the perfect fit for Ouramdane's undulating, abstract patterns. Few seem to notice that there is something slightly different about her: Hanauer was born missing part of her left arm, and now has a prosthetic one.
Hanauer, 30, has achieved what many thought impossible for a performer with a disability: a thriving career in the mainstream dance world. After performing with the UK's Candoco Dance Company from 2008 to 2014, she is now an in-demand freelancer, and a tall, striking presence in the works of contemporary choreographers Emanuel Gat and Ouramdane.
Born in Minnesota, Hanauer started taking a range of classes at a local studio when she was 10. Both her family and dance teachers were supportive: "I was never excluded," she says. "It was recreational, but when I got to the age of 16, I was taking class every night."